Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Kenya and from Hong Kong.
But I was there.
I was there in 1976.
I was there at the first Wire show in Watford.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1972.
I'm losing my edge.
To all the kids in Edmonton and Manila.
I'm losing my edge to the art-school Salvador kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1979 at the first Second Layer practice in a loft in South London.
I was working on the linndrum sounds with much patience.
I was there when Nile Rodgers started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing Jeru the Damaja to the grunge kids.
I played it at Cafe Wha.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by The Moody Blues. All the underground hits.
All Whodini tracks. I heard you have a vinyl of every Second Layer record on German import.
I heard that you have a white label of every seminal jazz hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '70s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Electric Light Orchestra record.
I hear that you and your band have sold your theremin and bought a synthesizer.
I hear that you and your band have sold your synthesizer and bought a theremin.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
The Invisible,
Peter & Gordon,
Essential Logic,
Suburban Knight,
Rhythim Is Rhythim,
Lungfish,
The Velvet Underground,
Lebanon Hanover,
Tubeway Army,
Spandau Ballet,
Swans,
Monks,
Pantytec,
Bobby Byrd,
Super Lover Cee & Casanova Rud,
Public Image Ltd.,
Soul II Soul,
Simply Red,
Lonnie Liston Smith,
A Flock of Seagulls,
Beasts of Bourbon,
Barclay James Harvest,
The Angels of Light,
Tomorrow,
Rufus Thomas,
The Detroit Cobras,
DJ Style,
Siouxsie and the Banshees,
Rites of Spring,
John Coltrane,
The Music Machine,
Blake Baxter,
Freddie Wadling,
Matthew Bourne,
Goldenarms,
Faust,
Soul Sonic Force,
Maleditus Sound,
Whodini,
Aaron Thompson,
F. McDonald,
The Human League,
Buzzcocks,
Severed Heads,
Marine Girls,
Dennis Brown,
Röyhkä ja Rättö ja Lehtisalo,
Ultra Naté,
Lou Reed & Metallica,
Silicon Teens,
Kerri Chandler,
Glambeats Corp.,
Bootsy's Rubber Band,
The Kinks,
Strawberry Alarm Clock,
Adolescents,
Radiohead,
David Bowie,
Laurel Aitken,
CMW,
Gregory Isaacs,
Bill Near, Bill Near, Bill Near, Bill Near.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.